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During the early classes of Korean dance, it was easy for me to discover the distinctiveness in Korean traditional dance. Korean traditional dances had many common features; emphasis on verticality, shoulder dance, a feeling of suspensions, and a particular way of using the floor. In addition, Korean traditional dance not only embraced the essence of han but also appealed Koreans for mot and hung. However, inner spiritual qualities such as han, mut, and hung now became a cliché to contemporary Koreans. These qualities have been descended from those of my ancestors but lately most young Koreans regard them as worn-out qualities. Young generation like me knows the literal meaning of han, mut, and hung, but can not feel them. As the world is becoming homogeneous, Korean dances have been influenced by the influx of western culture. Korean dance must be re-constructed and modified to suit contemporary lives. As Judy Van Zile mentioned in her book, identity is an ongoing process. Koreans choreographers are establishing a new contemporary identity by their dance. When I saw some video clips about Korean creative dance and Korean modern dance, it seemed difficult to distinguish one another. I could only observe a few movement